ONE THE INSTRUMENTS OF T ORCHESTRA,CHAPTER ONE me STRINGED INST UMENTS sand were al to any but y greater dynamic fore expressive capacity. The wind instruments of the st tionsin tl Ac the same 0 ing different kinds of sc group is f differ As string tone is rich in ¢ manner of close and open spacing is practical. One does not tire of hear: ing string tone as s \e tires of wind asizable literature of compositions written for string orch wind inseruments. The string section of a typical symphony orchestra u of sixteen first violins, fourteen second violoncel may be found, reflecting the predilections of individual conductors, or perhaps determined by some such circumstance as the size of the con- cert stage. ne; in fact, there exists ra without ins, twelve ,INSTRUMENTS TUNING ese instruments are tuned as follow The four strings of e: viol ile ello Inthe case the written ressed in terms of the ince, the upper string as a frequency ing can be varied 8 ng the « Stringed instruments are tuned by turning the tuning pegs t the strings are attached. Tightening a string increases the freq of its vibration; hence raises its pitch. The weight of the string has an important infl f its vibration. Thus the four strings on the same identical in length, but may differ wide made to differ in weight. Furthermore, by 1 the strings can be heir various pit ions. The lower-} of this princ Variation in the length of the string produces prop in pitch, A longer string vibrates more slowly than a shorter one, other conditions being equal. It is found, for example, ¢ ing the string ength doubles the frequency and raises the pitch an octave, FINGERING The action of the left-hand fingers stopping the string firmly against the fingerboard shortens the sounding length of the string, thereby raising the pitch. STRINGED INSTRUMENTS 5 ogeepoora Fig. 2. Violin diagram, note that the sounding length of the string, to be set ion by the bow, is that between the stopping finger and the se be silent. Wing the string length raises the pitch an octav bridge. The remainder of the string will of co Since he point cd to sound the octave above its open, or un- ly one-half the distance from nut to bridge. If we wish to raise the pitch another octave we will find the point of stopping one-half the distance from this middle point to the bridge, or three-fourths the total string length from the nut. ope ing Fig. 3 a major second above an open string means a distance of about 1%4 inches, whereas the terval in a very high position measures less than % inch. A major second above an open string on the violin meas- tures about 1%4 inches, on the ’cello about 23% inches, and on the bass about 4% inches. Another characteristic of string fingering is that when the hand is in a given position on one string the fingers can readily stop tones on any of the four strings, without the necessity of moving the hand. Each6 INSTRUMENTS rer derived from the number of diatonic str pasting Ye postion posoon thd podion Fig. 4 led description of the fingering systems of the several stringed be given in succeeding chapters. DOUBLE-STOPS © to stop notes on two adjacent strings in such a way that ind both notes at once. This is called double-stopping. Triple- and quadruple-stops (chords) are also fea hough it incous sound of three or four notes DIVIDED STRINGS ble notes are customarily divided between the the same desk. The part should be marked és; Ger., geteilt), most often ab- player at each desk takes the upper should be marked unisoni . If double notes 1e Writes a precautionary is more STRINGED INSTRUMENTS 7 A division of id be marked div. in 3 (Fr. d ating indications .yers’ music to show which part each is to play. parts are given separate lines in the score, for er results may be obtained by ;Fr., par pupitres; Ger., pulrweise), the ection are to play, the part is marked ; Ger., die Halfte). The players on the h desk will then remain silent until given the indication all Fr., tous; Ger, alle). section into more than two parts w er., dre eteilt), neces lefe at c: (le, ta BRATO of the note. The st repped tones except those of short duration and needs no indication for its use. However, there are times when one prefers cainable only by suppressing the vibrato, in which case the direction senza vibrato should be given. own Fig, 6. Violin Bow ‘The bow-stick is of fine, light wood, generally Pernambuco, which the hair, and, when the hair is tightened by means of the screw at the heel of the bow, the resulting tension brings into play the resilience of the stick, an important factor in the various bow strokes. The hair is horsehair, although in recent tims her materials, such as nylon, have8 INSTRUMENTS been tried, There are over a hundred hairs in a violin bow. Itis the habit f scring players to rub a specially prepared rosin on the bow lp in securing the right amount of friction on the strings. The bow is held firmly, yet lightly, between the of the right hand, as shown in Fig. 6. The first finger is in a pos to exert varying pressure on the bow-stick, while the little finger is ‘used mainly to balance the bow, according to its position on the stri (The so-called German style of bowing for the double-bass w described later.) The bow is drawn at right angles to the string, ordinarily at a place about halfway berwe the end of the fingerboard, For a and more bi notes, the bow is played nearer dge. For softer tones it is moved arer to the fingerboard. The hair m: the hairs are in contact with the string; but us edge, so that only part of the hair is engaged. This enables the player rol the amount of hair being used. For the violin and viola the tilt is away from the player; “cello and bass the opposite is more convenient. The part of the bow near the point is called the upper part of the bow; that nearer the heel, the lower part. When the bow is drawn start- ing at the lower part and proceeding toward the point, straightening the elbow joint, the stroke is called down-bow. The opposite is up-bow. Both are more clearly expressed by the French tiré (drawn) for down- bow, and poussé (pushed) for up-bow. The signs = (down-bow) and y (up-bow) are in universal use. or the LecaTo If no slurs are marked, each note calls for a change in the direction bow STRINGED INSTRUMENT phony Pane Allegro non troppo of the bow. Ex. 2. Schubert—Symphony no. 5 p. 24, ed. Eulenburg === Andante con moro e with an up-bow. The up-bow, in string style, is as p-beat, or anacrusis, whereas the down-beat, as in Ex. r, suggests a down-bow to the player. It is impossible, and often inadvisable, to principle to every up-beat or down-beat, but the principle is con- tinually in evidence in good bowing. Fora vigorous attack on a long note, to be followed by a down-bow chord or accent, it is well to begin down-bow, changing immediately to up-bow. This change of bow will not be perceived by the ear if properly performed, and will permit the use of the more energetic down-bow for both atcacks. ctivel thisSTRINGED INSTRUMENTS148 INSTRUMENTS Ex, 15, Stravinsky—Orpheus p. 40, ed. Boosey & Hawkes Andante sostenuto 2) 96 strokes described are ex, 16. Berlioz—Fan ACCENTS ig. 94), or by20 INSTRUMENTS pit ov Fig. 9 ‘Accents are of course relative to the general nuance of a particular tone, whether soft or loud. There are different kinds of accents, created by different modes of attack. The following figure attempts to show graphically the shape of the tone in the ortant of these forms. — y = c= <—_— Fig. 10 Composers in general seem to have been indifferent co these distinc- tions, one reason being perhaps that they are impossible to produce on the pianoforte. Therefore it becomes a responsibility of the conduc- tor to decide which type of accent is meant by the composer's sign, and to see that it is properly executed. EFFECTS OF COLOR To obtain a tone of very soft floating quality the strings may be directed to play on the fingerboard (Fr., sur la touche; Ie, sulla tastiera or sul tasto; Ger., am Griffbrett). The bow is placed so far from the bridge that itis actually over the upper part of the fingerboard, where there is greater amplitude in the vibration of the string. rx, 18, Debussy—Rondes de Printemps p. 36, ed, Durand STRINGED INSTRUME T a In this bowing, care must be taken that too mu upon the bow, lest it strike more chan one st gerboard is impractical on the E-string of the v of the body of the instrument interferes with the bow. Itis often indicated, nevertheless, for passages running up to high positions on the E-string; fe directive cannot be followed literally, it serves to suggest the tone quality desired. Playing with the bow very close to the bridge, or even upon it (Fr., au chevalet; It, sul pomticello; Ger., am Steg), produces a special kind of sound, due to the bringing out of upper partials not usually heard. The sound has been called glassy and metallic. This effect is generally combined with the pressure is not put ed tremolo, EX. 19. Strauss—Symphonia Domestica p67, ed. Associated Music Publis ‘With suthovaation of the erga! pub When sulla tasticra or sul ponticello is no longer wanted, the part is marked modo ordinario, or naturale. The bow may be turned over, so that the strings are struck with the wood instead of the hair (It., col legno). This is a bowing used for dry staccato effects, the bow-stick tapping with a kind of off-the-string staccato.22 INSTRUMENTS ex. 20. Britten—Passacaglia from Peter G 16, ed. Boosey & Hawkes ex, 21. Mahler—Sympbony no. 1 Feierich und gegen, col keene om mie es celle S| a, & efter cel fr 3 gaa = ‘These effects, alt Some composers w1 ping, and col legna tratto (Get. gestri ugh not co STRINGED INSTRUMENTS 2B is to be drawn across the string. The return to normal bowing after col legno is indicated by arco. PILZICATO The right first finger plucks the string, over the fingerbo other three fingers hold the bow against the palm of th thumb may rest on the edge of the fingerboard to steady the hand, al- at the instant. A ws a down-bow at che change can be larger interval must be allow the point, whereas after an up-bow at the hi p-231, ed. Durand2 INSTRUMENTS Ex. 23, Berlioz —Hare in Italy Allegro freneico arco shorter ones. O} fingers. The pizzicato can be varied by plu the manner of wgers in fast pizzicato, acquired |. Factors affectinga INSTRUMENTS STRINGED INSTRUMENTS 29 sky—Rag p-4red. Chester ‘non peas = pe cs aco. ~ These sounds present in a si one is the first 1, thirc30 INSTRUMENTS d of a clarinet from that of a ‘cello playing the same note. We donot hear ics as a chord. The fundamental ian its upper partials that we are regul ig that it we hear. ig. 11, it ut it will conti sen, and it will sound the corresponding note shown by le, the G-string is tou from the nut, while maintained in vibration by the bow. The entire string vibrates as in no. 3 of Fig. 11. The note sounded is that shown as no. 3 of Fig. 12. Th ng the other ni s ig its Funda- ¢ diagram, according to ue to vibrar nber, two-thirds of the way from ne m inner are called by string players harmonics . sons barnvoniques; \t., armonici; Ger., Flageoletténe). Theit ti bre is quite different from normal stopped tones, since only Is are sounding that have a node at the point touched. They are The indication su! G means that all is to be played on the G-string (Ger., G-Saite), Another means of designating the string to be used, preferred by the French, is that of Roman numerals, the highest string being always I (e.g., 1V* corde). ARTIFICIAL HARMONICS On the violin and viola it is possible to stop a tone with the first finger and at the same time touch a node with the fourth finger. This ig int represented in notation by the interval of a perfect fourth above the note stopped fore two octaves above d art armonies, which have open strings as fun- by (a) ic, or () writing the fundamental to be stopped by the first finger as a normal note and the node a for nd-shaped note (Fig. 14). The actual pitch of the tone intended is often added above, as (c) the stopped tone. These hi nies, as differenti natural damental ¢ acing a sm: nonics are indicated in notat vs rs os Fig. 14 Composers frequently use the notation (a) for all harmonics, leaving the method of production to the player, whether as artificial or as na- tural harmonics. The notation (b) is sometimes used when the lower n string. This is incorrect but easily understood. tone is an o Trills are performed by the motion of one finger, since the finger ‘open string and stopped note does not produce as effective a trill as those on stopped notes. Ir should be remembered « till played simultaneously by a whole section. Sixteen first violins ly agree on the chyt rill on a long note, and the effect will not have the clear articulation of the same trill given say to the first flute, played by a single player. ©34 INSTRUMENTS STRINGED INSTRUMENTS 35 Ex. 32. Debussy—La Mer p. 18, ed, Durand The other mates absorbing s resonating int. The tone quality ed st heard, its characteristic sound is is far means of g achieved wi with muted si Time a couple avoid confu quick change have | permanently inst e strings to be pushed up against the bridge for muting. It cannot be said that any of these have met with cor y no cai effect of forte The indication to put on sordino—plural sordine, or sord he passage is marked senza sordini (Fr, sans sourdines; Ger., obne Dimpfer), or via sordini (Fr., dtez les sourdines; Ger., Dampier weg Ex. 33. Mozart—Sympbony, K. 543 SCORDATURA A change from the normal strings is called scordatura, This has been employed to extend the downward range of basses and "cellos on rare occasions. In Don Quixote Strauss asks the solo viola to tune the C-string to B, and a similar change is asked of the ‘cellos in Casella's Partita for Piano and Orchestra. The strings do not give their36 best tone w INSTRUMENTS ered more than a seca e caused by ret age gained. a change pares a second is avoided, nstrum It To use and the inconven- mance seem to APTER TWO ee THE VIOLIN the sounding | slightly over 12 ‘The top, or belly, of back of or tw fhe arched belly is reinforced by as G-string edge of th FINGERING The v cchin rest atta so that the left hand is free to neck of the violin lies between and the left elbow is almost perpendicularly upon the strings ” s supported between t Wve up and down the fingerboard. T left hi far to the40 INSTRUMENTS ation of the fingers for all the the E-string, the interval being a minor se second as on the other strings. The diagram should be studied also for relation- ships involving more than one string. For example, from first finger on one string to second finger on the next higher string is a minor sixth; from first finger on one string to fourth finger on the next higher string is an octave; from second finger on one string to third finger on the next lower string is a perfect fourth, ete. Perfect fifths lie across the strings at right angles. OPEN sTRINGS 1 fourth finge’ ar to the first po: marked difference in tone quality betw those stopped by the fingers. The f he open string notes 1. There is, however, a the open string tones and ier sound clearer and richer in wood of the nut rather than the flesh of the fingertip. But without the control of the finger the open tone is by the bow, and it tends to sound more, its pitch of intonation are generally tolerated as a necessary evil, notably in the use of natural harmonies, whose pitch is de that of the open string fundamental, and also in enharmonically notated passages. In THE VIOLIN Ex. 36, open G is as valent of F double sharp. o be a satisfactory eq ex. 36. Wagner—Tannbiuser: Bacchanale p. 20, ed. Kalmus Open string t but they are reg aracteristic of st such (Ex. 37). avoided in expressive melodic phrases, ares, Their sound ted as Symphony no. 4 Alegro eerie pasion = a= eee pr eree ‘A note affected by an accidental is played with the same finger as the natural note. On the G-string, the first finger plays Ab, Ab, and Ag. Also the first finger must play the sharped open string note Gz. The student should make a diagram similar to that in Fig. 16, marking the location of the fingers on the strings for the playing of the following passage.INSTRUMENTS with the same fir ger on the strin; portan certain amount of Fig. 18 Musically, the difference between (a) and (4), in Fig. 18 is one of ton: Jable in the key of G, and (b) in the key of Ab, interpretations. The un- orthodox fingering shown in (c) and the principle \ger for each chromatic step has in practice par- superseded the time-ho his means a more distinct tion is obtained, without sliding or portamento, There can be no doubt of the superiority of fingering (c) for rapid sages, but it should be recognized that at a slower tempo the dif- in harmonic meaning suggested by (a) and (b) may be iced, not to mention the n of certain slides firmly estab- lished in what we know as ‘violin style.” It is true that harmonic de- velopments in the twentieth century often demand compiete accept- ance of the enharmonic noration of the tempered scale, but the choice of fingering should be governed by musical rather than by mechanical considerations. These two alternative fingerings are shown in the following scale. Obviously the sound of the finger aché bow ing is used, but the lower, older fingering remains awkward even then. ferentiatic THE VIOLIN 8 SSS Fig. 19 INTONATION Good intonation (that tion with all instrumental an absolute but a relative have demonstrated that in pra . playing in tune) is a perpetual preoceupa- the tones he produces by using jecting them to cept, of course whose pitch ca ing-tones and close to t nations, whereas flatted notes in pitch, there operates a continual harmonic adjustment to the sounds of other instr y cin the tone of a group of strings ‘on is due in part to the minute differences in pitch that ‘occur throughout the group. POSITION TECHNIQUE As the hand ig moved to higher positions new groups of notes lie under the fingers.INSTRUMENTS eptiepsetINSTRUMENTSTHE VIOLIN 0 INSTRUMENTS p. 119,¢d. Philharmonia =~ as to how . 43 a real glissando with one finger co1 e other hand, the lines n sixth in Ex. 46 passes from the G-string ce from first position (third finger ) to seventh position (fourth finger A). This is equivalent to a slide from C up to B for the third finger, an interval of a major seventh on one string. p. 49,ed. Kalmus Ex. 46. Brahms—Symphony no. 3 » se as ee50 INSTRUMENTS rly, it is necessary to cross over two strings in the next example, he left hand does not have to change position to 's on the G-string, All are in the sixth position, except that the initial B is better played on the more brilliant E-string in third position. Ex. 47. Holst—The Planets ee : aed by permison of J. Corwen & Sant Le p.29, ed. Boosey & Hawkes shift from first to seventh position, just as for the much greater interval in Ex. 46. ex. 48. Mahler—Symphony no. 9 p. 118, ed. Boosey & Hawkes sige Ponte Cooyrght 125 renened IV by Univeral Editon A. . Uved by pemiion If the two notes are to be slurred, the ust be arranged so that cither a single string, or two adjacent strings, can be employed, since the bow could not play legato and at the same time jump over intervening strings. ex. 49. Reger—A Romantic Suite, op.125 _p. 48, ed. Bote & Bock mace 3-8 Spe. ~ Sea A skillful player can give a fairly good impression of a legato skip across intervening strings by lightening and slowing the bow at the THE VIOLIN st right instant. It must be admitted, however, that keen ears are not de~ ceived, Ex. 50. Berg—Lyric Suite p. 36, ed. Universal ings may take pare in passages in which the hand remains in a high position. x, 51. Hindemith—Symphony in E Flat p. 126, ed. Schott CHOICE OF FINGERINGS More th: the one se fingers. sometimes a predominant position shift pted in order to preserve the unity of t and special quality of a single string, or to give a particular expres turn to a melody. The student's attenti of developing an appreciatio duced by stringed inscruments, In recent years one notes a strong tendency toward a liberation of violin fingering sechnigue from the tradicional syst ns. Te one fingering is possible for any succession of notes, and id to the ingering, and that these c produce bad intonation. players find that they prefer to discover fingerings most suited to the shape of th of their own individual hand, without reference to conventional patterns and positions, so that the notes to be played lie conveniently under the fingers that are to2 INSTRUMENTS play them, Doubtless these principles will one day be incorporated into the teaching of violin playing. CHARACTERISTICS OF THE STRINGS ity of ti While there is much more a woodwind, there ex in this respect wit four strings. $ ties for variety are: low, medium, and hig The E-string is made of steel. The got, in the interests of greater brill the first quarter of the present century and was felt by many to be a disaster because of the loss A-strings are of gut, althoug! A. The D-string is either of gut or gut G-string is always a wound string, silver or copper the commonest material. D- and G-strings entirely of metal are also used. The tuning pegs to which the strings are attached are held in position by the fri ‘a good fit. A knot or a loop attaches the other end of the string to the tailpiece. Metal strings require a special screw device ‘on the tailpiece for tuning fine differences. ‘The E-string has the most carrying power. Forceful and even stri- dent at times, it is also capable of an ethereal quali clear, when played softly (Fx. 52). d,and we cannot designate characteristics of h registers, as we do for wind instruments, material from occurred in luminous and ex. 52. Milhaud—Second Symphonic Suite p. 69, ed. Durand ‘Supe e animé fete = im rtm i oP ee Perminion waned by rm m+ " m™ THE VIOLIN 53 The A-string is fairly strong in liance and power as the string beco a soft, expressive phrase in that range, itis generally prefe up the A-string rather than pass over to the E. (Ex. 53). losing some bril- to move EX, $3. Brahms—Sympbony mo. 3 p- 67, ed. Kal vote wo Sp St a = SSS fps The least powerful str quality in contrast to the types of expression (Ex. 54). It has a quiet, subdued ly suited to certain calm and is especi EX. 54. Beethoven—Piano Concerto no. 4 p.2,ed. Philharmonia ‘The G-string is next to the E-string in sonorous strength. It is excel- lent for broad melodies rising as high as the seventh or eighth position, it has a tendency to hoarseness in the extreme high tones. A it for melodies on the G-string would be an octave and a fourth above the open string (Ex. 55).ex. 56. Bartok—C is intended, 10 for Orchestra p-56, ed. Boosey & Hawkes the degree of 39, ed. Durand PS AND CHORDSFig The unison of stopped tone and o pecially in ere EX. 59. Prokofiefl— violin,58 INSTRUMENTS The finger positions for three- and four- basis for arpeggio figures across the strings. back and forth (Ex. 60), or it may bounce lightly (Ex. 61). ex. 60. Wagner—Die Walkiire: Siegonunds Liel Minig bowg Ene Ge EE ex. 61. Rimsky-Korsakoff—Capriccio Espag Vivo ¢ anepiteso HARMONICS Although harmonics are primar nic is frequently e THE VIOLIN 59 written (Ex. 63). land—Syaphony no. 3 ey & Hawkes portamento between the notes.60 INSTRUMENTS p. 12, ed. Broude Bros. Px. 65, Stravinsky—L’Oiseau de Feu cross the px, 66, Ravel—L'Heure Espagnole Presque lent The artificial harmonic created by touching a perfect fifth above the stopping first finger sounds a twelfth above that fundamental. It js rarely used in orchestral scores, but some instances are found in méfern music. ex, 67. Bart6k—Dance Suite p- 31, ed. Philharmonia SSS Pee Ue " FIRST AND SECOND VIOLINS In score reading it is essential to bear in mind that a string part is played by a number of players, a whole section of sixteen first violins, THE VIOLIN a while presenting on The part for second unison or octave, Thi the comparatively and trumpets. But also i violins are still not expanded brass section. The first v the largest share of pr terial. Seated the conductor, at the edge of the stage, the first v inser If the second vi instruments are turned away lost. If they are massed with the first v they are still dominated b the listeners, and the effect of the audience. nal fashion, their ience and some sound is ns, as some conductors prefer, s who are between them and ndependenee ani ony often nts in acoustical problems sta tration. ‘The second for variety, be substituted for 1 g companiment figures of every sort, cither by themselves or associated with first violins or ures, the two sect it more security and energy th the overlapping unisons at theINSTRUMENTS THE VIOLIN 6 s, adopted se are the orc! chamber“ INSTRUMENTS perfo an equal basis with his associates. The s¢ project the music with all the vigor and authority at his mand. This attitude contributes to the distinction of ive and gressive, solo violin part. CHAPTER THREE mee THE VIOLA ; Ger., Bratsche ay played, whose measur length, and com divergence of opinion formers, composers, and listeners, both as to what kind of tone the viola should produce and what kind of music it should be expected to play. ‘The viola presents an especi ple of th the evolutionary process, which we cannot assume to be the case of any of our instruments. A hypothetical norm or average may be given for the principal ‘measurements: length of body 16% length of neck 6%. inches; over-all length 27% inches; sounding length of strings 1514 inches. Even the largest violas are not big enough in comparison with the violin to correspond to the pitch a perfect fifth lower, and this discrepancy is le in large part for the unique tone quality of the viola. The larger the instrument the more difficult it is to handle, es- y when playing in upper positions. The bow is so er than the vi os jewhat 1 bow, and hence heavier,66 INSTRUMENTS THE VIOLA o ics, notes higher cuErs ‘The normal clef for the viola is le clef (G clet he would prefer to do so rather than change clef for just a few notes. Pos! ions HALF POSITION axing B Because of the wider spaces be convenient on the viola than on the v . Brahms—Symphony no.2 p-97.ed. Kalmus Davies BE Allegro con spirit Prespia aait Coin ESSE vese} res ef] are aa al CHARACTERISTICS OF THE STRINGS or of any other enti Adjectives used to describe the tone of the viol instrument, cannot do more than direct the’stud es. There is no way other Fig. 28 tain admittedly general and vague at to cer-2 & a 5THE VIOLA n tremolo on the lower strings. Held chords for winds are omitted from the example. Ex, 78. Beethoven—Viol to p- 8, ed. Eulenburg "i ee wer SSS ——- mn Bese SSS a o, ‘ Pant == . ie ¢ gant # a 5 [st saeazey eprint te pe When two notes lie bot example, they must of cours. a of Haydn, Mozart six to ten firs v d six to ten second lassical scores there is good divided violas were thought a sufficient balance for tl and second v Also, there are numerous is combined with wind instrumen pe[ | aes -F a4 EE ope Sas wd 7 ton . Cetera ete ee St wt (eee Ss — pos 2 ar SCA , fi <, [SEE == ™ “S 2 When of sgn pubes Ed Rte & Beck, ui, Wiad DOUBLE-STOPS AND CHORDS Ie is wise to adhere to the principle that the maximum stretch from first to fourth finger is the equivalent of a perfect fourth on one string,1" INSTRUMENTS for chords and dout any combination can be judged by ps in the lower positions. The playability of king diagr: to those advised for the violin. Three-part chords will be found more genet useful than four-part chords unless a fairly heavy effect is wanted, and open-spaced chords sound better than . Inthe ig example of a viola passage in a full tutti, the double- stops and chords are skillfully chosen to give the maximum sonority. Notice the large number of open string notes employed. ex. 82. D'Indy—Symphony on a French Mountain Air p- 53, ed. Durand HARMONICS All harmonics are good, as on the violin, Artificial harmonics are seldom written above the third position D on the A-string. ex, 83. Schoenberg—Serenade p. 40, ed. Hansen SehiJebmate 9 - Florph (fa)Pleg (E Flal? (5 » FSS =f vee Several notes above this D are perfectly playable as artificial har- monies, but there is little occasion for their assignment to violas rather than to violins. The lower-pitched harmonics of the viola are generally useful range. For the glissando in harmonics, the longer string makes possible the extension of the natural series as far as the ninth partial. Notice the inclusion of the seventh harmonic in the following example. amore THE VIOLA 2B px. 84. Stravinsky—Le Sacre du Printemps _ Soaieeseeen. p. 10, ed. Russe Jizardo ws | falBo 1 by Editon Ruse de Bsiue. Ved by permiion. Pr IcATO It is noticeable between the various stringed instruments that the greater the string length the more resonant are the tones played piz~ zicato. The viola pizzicato is slightly ro short, than ister. High notes on the A-string tend to sound © E or F. This quality may be turned to advantage in appropriate musical circumstances. In the next example the viola doubles the first oboe at the unison, the first flute playing an octave above. EX. 85. Roussel—Suite en Fa p-30, ed. Durand fae] + ‘An example of extreme high pizzicato is found in Alban Berg's Vio- lin Concerto, where it is employed in unison with harp, two flutes, and two clarinets. Iv is interesting to note that whereas these instruments are playing ff, the violas are marked f.76 INSTRUMENTS ex. 86. Berg—Vi Concerto p-70, ed. Universal ex. 88. Stravinsky—L Oiseau de Feu Motto modest THE VIOLA 7 x, 89. Debussy —Gigues p. 33, ed. Durand Modéré actical obstacle to the proper lo effect. p. 109, ed. Boosey & Hawkes hharp, and two soloCHAPTER FOUR ee THE VIOLONCELLO Fr, violoncelle; It, violoncello; Ger., Violoncell He violoncello is commonly known as the ‘cello. Its pitched an | octave below the viola, and although its general measurements are not proportionately large enough for its pitch, compensa- in the greatly increased thickness from top to ons of the ’cello are approximately as f over-all length, 48 inches; length of body, 29 to 30 inches; length of neck, 11 inches; sounding string length, 27 inches; thickness at sides, y inches; height of bridge, 3% inches. In playing position, between the player's knees, the neck pointing over his left shoulder, the instru ment is supported on the floor by means of an adjustable peg that slides out just bel Usually the A- and D-strings are of plain gut, the G and C being wire-wound, In recent times, however, there is a noticeabl the use of metal for all four strings. ws ww the end of the tailpiece. FINGERING ‘ 4 ie ee ee Pp aciecoraee Fig. 29 The patterns shown are the basic forms in the first position, on the C-string. The normal compass from first to fourth finger is a minor 0 THE ‘CELLO 81 third. In (2) the minor third is made a minor second; hence the fi of amajor second fo rE, » the mine ch first and second fingers. Transposition of these patterns upwards by fifths will give the notes obtainable on the other three strings. The traditional diat positions on stringed instruments beco applied to the ‘cello, since the spacing of 1 gest a progression by half steps. The (@) fro bridge. basis for fchand gical when e fingers would seem to sug- wing figure gives the pattern raised first position, lowered second position, intermediate position, and one-and-a-balf position, the last two being applied enharmonically. The half position is used as on the viINSTRUMENTS THE 'CELLO 83 nphony no. 6 p. 82, ed. Kalmus the interval of a fifth oftener than the violinist with the ad- The ‘cellis’s left hand has 2 ment. The neck of the instrum parts of the fingerboard are w the ’cello rests on the peg the 2 support. sn pon yr pon Fad pf po “rd poe ‘When the hand is advanced to 1 port es to be covered on the nto, the more pro- s (Ex.84 INSTRUMENTS appreciable amount of time is necessary to place the thumb in its new position. Itis important to remember that the st nishes as the hand moves to higher p length of a given incerval ions. On the ‘cello, the kes possible the stretch of an oc- tave. The possibilities for extended finger patterns in the upper positions are numerous. In Fig. 34 are shown a few combinations using the thumb. Fig. 34 cers The normal clef for the ‘cello is the bass clef. The tenor clef (middle C on the fourth line) is extensively employed to reduce the number of leger lines in high passages, and the treble clef is used when the notes are too high to be easily read in the tenor clef. Formerly, parts for the ‘cello in the treble clef were habitually written an octave too high, except when the treble clef followed the tenor clef. This practice has been abandoned, and today all notes are written at their proper pitch. It is necessary to know that the custom was once prevalent, since examples of it may still be found in nine- teenth-century editions. RANGE, Orchestral parts may go as high as two octaves above the open A-string, without recourse to harmonies. This practical upper limit is THE CELLO 85 exceeded by a fourth or a fifth in parts for solo ‘cello, but instances like the following, for the 'c ire exceptional. lo sectio Ex. 95. Britten—Four Sea Interludes from Peter Grimes Pp: 65, ed. Boosey & Hawkes Presto con Fuoco HARMONICS. The following glissando, up to the harmonies on any string. EX. 96. Stravinsky—L’ Oiseau de Few This is intended as a coloristic effect, the success of which does not require that every one of the notes shall be sounded by each individual player. The series is p because of the progressive approach to the high notes. Ordinarily the eighth harmonic is rarely exceeded, and the ‘cellist may prefer to play even that as an artificial harmonic fromNSTRUMENTS harmonic is usually p.3,ed. Universal "CELLO 87 p- 19, ed. Philharmonia Ex. 99. Casella—Pupazzetti ete aia sas each section divided p-11,ed, Durand88 INSTRUMENTS THE ‘CELLO 89 DOUBLE-STOPS AND CHORDS ex, 101. Debussy—La Mer Anime fingered like four-part EX, 103. Strauss—Symphonia Domestica Pp: 106, ed. Associated Music Publishers sehr leaf Se UeINSTR lows the zx. 104. Bartok—Second Rhapsody for V: ex. 105. Brahms—Symphony no. 2 Allegro gration Zp tree pti tere. Sf = be . Ffen ene rt fF eter. arent == P —= Ccoprten 1945 by Leeds Masi Corporation, New Yosh, Used by pemision THE ’CELLO a Harmonies, when plucked, so are best and to the natural —A Night on Bald Moi . ed. International Music Co. or downwards unless downward piz riety of effect he three upper strings. The fol issage in which the entire string section joins in an evoca- tion of guitar playing,2 INSTRUMENTS ex, 108. Debussy —Ibéria p. 104, ed. Durand be abe d by much express wer. Countless ex: ies in this register. The xtends over sixty-six measure p. 3, ed. Heugel a wees a ssesre Ion Reprodueed by permission of Heagel et Cle, Paria, owners of the copyright ‘The D-string is smooth and unobtrusive, less nasal than the A. THE 'CELLO . Wagner—Siegfried Idyll = Babe = Poe yg — << Seee sete ee, —— ——— SSS "iP 1m of he sole sent for Esler Mnlatate Score: C.F. Per Corpor ex. 111, Franck—Variations Symphoniques p- 38, ed. Enoch Lee SSS Bae. Ee a= poco ere ate figuration in the solo piano part, marked Iris a regular duty of the ‘ee s to play bass parts, either alone or rocedure is to write the same notesTH ° 95 players to perform like the following without y—Le Sacre du Printemps p- 67, ed. Russe Universal are difficult to make clearTHE ’CELLO ” lie role. ed, SimrockCHAPTER FIVE ae THE DOUBLE-BASS Fr,, contrebasse; It vabbasso; Ger, Kontrabass n the ing shoulders tapering into the neck, a characteristic of its ancestor the viol. Also are the cogw' ig devices on the friction-held pegs of the other stringed instr The bass stands on an adjustable peg, and is supported in playing position by the body and left knee of the player. Bass players som sic on a high sto laying. Basses are of different sizes. For general orchestral use the size known as three-quarters is preferred to the rather unwieldy full-sized bass. Average dimensions of the three-quarter size double-bass are as follows: over-all length, 73 to 74 inches; length of neck, 17% inches; thickness at sides, 7% in inches; sounding length of strings, 42% inc! 27 inches. G- and D-strings are normally of gut, the A and E of gut wound with wire, but complete sets of metal strings are being adopted increas- igly by bass players. Although they bring some mod nthe ne quality of the instrument, the meral strings seem certainly to be iperior to ry and dependability, and they respond to the bow As previously mentioned, the double-bass sounds an octave below 8 other me ¢ string group otice: ox, replaci while 44 inches; eth of es; height of bridge, 6% igth of bow, 26 to THE DOUBLE-BASS 99 of this fact should become a habit in read- aying them on the piano. In the examples asses sound an octave lower than the written notes. Awaren ing or writing bass parts or of this book, all notes for printed, unless otherwise indicated. Notes as low as C, below the E of the fourth string, are to be fo in the scores of practical is is even more remark in the scores of Beet hree-string bass, no solete, was in co se. The lowest string of that instrument was tuned to A or G above odern f In performance the below his range, tru ob: en's time, w noticed only by change is covet los, it must be r procedure sometimes results disfigurement of the musical idea. Compare, for instance, the following phrase with its shape as per- formed on the four-string bass. ized that this, Ex, 119. Strauss—Also Sprach Zarathustra p-32,ed. Aibl Sehe lange ‘There are three ways to extend the range of the bass below E. These are the temporary tuning (scordatura) of the E-string to a lower pitch, the use of the five-string bass, and the adoption of a mechanical appara- tus for extending the E-string to C. All three are employed The first of these is the least satisfactory because of the disturbance to the instrument by the change in tuning, and even more because a proper tone cannot be produced with a string whose tension has been reduced to the point of Aabl tune to Eb or even D. Such alterations are more easily accomplished with the tuning mechanism of the double-bass than with the pegs of other stringed instruments. ness. It is entirely practical, however, toINSTRUMENTS five-st ng bass is not possess even ard past the it whereby notes occur, showing clearly w lowest note is E. EX, 120. Moussorgsky-Ravel—Tableatx d'une Exposition [Allegro alla breve To prevent transposition of the low tones up an octave, a remark must be added, such as “five-string basses only,” or “not an octave higher.” ex, 121. Mahler—Das Lied von der Erde p. 126, ed. Universal ee » SEE aes Sinn 2 im Le es ae ES NB only bases with low © THE DOUBLE-BASS 101 FINGERING The compass of the hand, from first to fourth finger, is a major second in the lower positions, The third finger is not used independ~ ently but is placed on the string together wit finger, until the sixth position is reached. Then the position of the hand and the lesser string length of the half step make it convenient to use the third op a wider use of the third finger and of the ex- tended position, stretching a whole tone from first to second finger; but the above are the basic principles of double-bass fingering, a tytet ELSE En pez fd on the G-string. It will be seen that there are real to the octave, one for each half step, but that the numbering rst, znd, 3rd, etc,, follows the diatonic steps on which the first finger is located, the positions in between being half positions. Just as in the case of the ‘cello, there are other systems of designating the po: into play above the sev To find the notes playable on the other three strings, the student should write our the transpositions of Fig. 35 down by fourths. Scales containing open string notes can be played with fewer position shifts, as demonstrated by the following comparison of the scales of G major and B major.SSS as curs jor third from the nut from the node located a as Jo; namely, bass, tenor The ha the fourth line), and ere De sounds more clearly on the bass than on any other stringed instrument. . IL imu de Couper . ed, Durand nawar ex, 123. Ravel—Le Tombe. superin p38, n tes for double-basses are very effe z | difficulty except for Phey are safer when approached double-stop in harmonics. Et104 INSTRUMENTS ex, 124. Stravinsky—Concerto en RE _p. 17, ed. Boosey & Hawkes Copyibt 197 by Bootey & Hawes, Ine, Utd by perma, DOUBLE-STOPS AND CHORDS The intervals playable on the bass as double-stops are thirds, fourths, and fifths, and any interval in which one of the notes can be taken on an open string. Double-stops, and chords of three and fo rarely found in orchestral music, however. In general, small harmonic intervals do not sound well in low pitches because of the conflict of overtones, and even when used for special effect, better results are ob- tained by dividing the notes among two or more players. The follow- ing sequence of fifths is unusual notes, are Ex, 125. Kodaly Allegro vince FSS 55 = = Conyriehs 196 by Univeral Edition A. G. aed by THE DOUBLE-BASS 105 BOWING asthe Ge ht grasp a saw. Th ayers place the action of the w1 that with the Ge thestick, as 0} used on in terms of more cumbers tion and experi aggregate sonority of the whol bow than does the tone of a single solo bass, and that | possible in soft nuances than in loud ones. \ger tones are ex, 126, Wagner—Tristan und Isolde p19, ed. Breitkopf Langum = a: Ss SSS eee = S For the long held pedal notes, sometimes lasting for many measures and often seen in nineteenth-century scores, the basses are expected to change direction of the bow as often as necessary. Continuity of tone is preserved by secing to it that all do not change bow at the same time. Double-bass staccato is preferably of the on-the-string type, but the controlled bouncing bow is entirely feasible and often used. The mod- em bass section is capable of considerable delicacy in passages like the following.E DOUBLE-BASS 107 106 INSTRUMENTS Ex, 127. Strauss—Don Juan p- 58, ed. Kalmus The string is us lding the bow. Thi he B shown in the follow- p-s7yed. Aibl E fs te te SSeS ees tasto and a doubled by the bass. The bass The fingered } | most han } }THE DOUBLE-BASS 109 vm ba es Jodie bass. Fine examples like110 INSTRUMENTS DOUBLE-BASS m Ex, 134.Franck—Sy p- 117, ed. Eulenburg p- 74, ed. BaronINSTRUMENTS DIVIDED BASSES foreboding is taken, Ex. 139, Debussy—Pelléas et Mélisande p- 346, ed. Durand remain on the arco on the cated in the upper part of the range of the bass. ads an adagio movement, THE DOUBLE-BASS n3 t is of novel deficient inCHAPTER SIX we WOODWIND INSTRUMENTS ‘oarcat. and convincing definition of the category we all know as woodwind is difficult to propose. It is easier to say whiel ‘instruments are brass instruments. Woodwind instrui made of metal at the present time. Rather than attempt to justify nomenclature accepted by custom, let us distinguish the brass instra- ments as being those whose tones are produced by vibration of the lips held against a cup-shaped mouthpiece. Other orchestral wind in- struments are woodwinds. ‘The woodwind section of the symphony orchestra is divisible into four family groups, as follows: Flutes, piccolo, (alto flute) Oboes, English horn, (oboe d'amore, heckelphone) Clarinets, bass clarinet, (Eb and D clarinets, basset horn) Bassoons, contrabassoon ‘The instruments named in parentheses are only occasionally em- ployed, while the others are standard equipment. This classification ith differences of tone color readily distinguishable by ear, brought about by differences of construction and method of tone pro- duction. In the make-up of the woodwind section, three basic formulas, or types, exist: coincides (a) Woodwind by twos: 2 flutes 2 obo ry WOODWIND INSTRUMENTS us 2 ch 2 bassoons (6) Woodwind by threes: 2 flutes and piccolo 2 oboes and English horn nets 2 clarinets and 2 bassoons and c: (c) Woodwind by fours: 3. bassoons and contrabassoon Tr will be found useful to regard departures from these three types as var the norm. The second ty threes, is used so consistently in the twentieth century that it has become estab- lished as the normal woodwind section of the present day. woodwind TONE PRODUCTION The vibration of air enclosed in a pipe may be compared to the vibra- tion of a string stretched between two points. One important difference is that whereas the pitch of a string is affected by length, density of materials, and amount of tension, the pitch of a vibrating air column depends upon its length alone. This rule is not perfectly accurate in a scientific sense, but it is the basis for the custom of speaking of pitches in terms of length. For example, the note produced by the C-string of the ‘cello is identified as 8-Foot C, being the note sounded by an open organ pipe 8 fect long. Ic is understood that this isa length adopted for convenience, and that a fractio to bring i into agreement wich whatever standard of pitch is being used. Doubling the length of the air column lowers the pitch an octave, and halving the length raises the pitch an octave. | correction would have to be made wh 8 te ke akINSTRUMENTS brass as wel The clarinet is a cylindrical tub piece. Oboes and her. Flutes are in part eylindrical, but the open e es. No \drical pipe has properties un- assoons are conical, larger at one end than at the uchure makes In a given pitch it r ds, if a flute and a wt half as much lenge Joy the same amount of eylin- ‘THE sHoRTE SING-HOLE SYSTEM Let us onsider a pri for the first, second, and g fingers are not used, since they do not naturally fall into a straight line with the others. The thumbs position to the right of the player, and the left hand will be nearest to the embouchure, in this case a hole to be blown across, The left end of the pipe is tightly closed with a stopper. This six-hole tube is the basis for the fingering systems of all woodwind instru All six holes must be closed by the fingei vibrate through its entire length and sound its fun the sake of further si over 21 inches, which is the length of the flute’s low D. ve flutelike wooden pipe with six finger port the instrument in a ho ty to the flute, let us say the length is a little T2372 3 Ss If now the right third finger is raised, uncovering its hole, the sound- ing length of the pipe is shortened by the distance from the hole ro the open end of the tube, much as though the tube were cut off at that vals of a major ing five holes must be scale, the note sounded wil kept closed. WOODWIND INSTRUMENTS 47 The entire scale is obtained by successively raising the fingers, open- ing the holes from right to left, as shown here. 2S 23 FORK FINGERING sed, the sound- led If the next hole to the right of the sounding hole ing note will be flatcened by a fork fingering, or forked fingering, between notes become available.18 INSTRUMENTS The acquisition of a of new holes and the invention of key me to control a tone hol function to the right thumb. Both fourth fingers, howev e help of keys in order to control pre locate y. The history of the de- velopment of key mechanism is one of increasing yy cover and une! fingers keys, levers, holes operated by keys. The key systems of the various w scribed in succeeding chapters oveRnLow1Nc In Chapter One, the harmonic attributes of a vibrating string were discussed. A vibrating column of air possesses these same characteris- tics, the over-all curve of the fundamental, and the subsidiary vibrations of the partials or harmonics that are present in the formant of the tone of the individual instrument. Just asa string harmonic is made to sound by lightly touching a node, so in a woodwind instrument a harmonic is produced by opening a hole located at or near a node. This hole ferred to as a vent. It may be one of the holes regularly used to sound fundamental tones, or a hole especially designea for the purpose and equipped with a cd a speaker key, register key, or octave key. On the flute, and with certain tones on the oboe, be produced without opening vent holes, by direction and shape of the air stream fro ‘The production of harmonics in all wind instruments is called, rather loosely, overblowing. The tones so obtained are not usually called harmonics, as in string technique. They are regarded as normal tones, being the only tones possible above the range of the fundamental series. re ie harmonies can WOODWIND INSTRUMEN 9 The f ig figure sl ing for D and opening as a vei sounds. Note that this hole is sit tube length of the fundamental D, j the octave harmonic will be found ter of overblowing. The pipe are such that the ons, re- first overblown ic, an octave and a fifth above the fundamental, vented by means of a register key. quiring note 0 EMHOUCHURE The term embouchure refers to the apparatus for inducing sym- in turn fits reed is held gent! ture between ¢! reeds, The bassoon em that leads reed, held picce fitting the end of ip, which covers the -d top of the mouth- the instrument, The ree’ lower tex piece Doubtless the prin: color of a wind forgotten that ¢ tions b cen lengeiTS , and of course the sound ideal and ex. 142. Brahms—Variations on a T4 INSTRUM p-20, ed. Kalmus ex. 14s. Wag WOODWIND INSTRUMENTS ns ex. 147. Berg—Vii PHRASING ‘Two or more notes covered by a slur are played with an tonguing. A tremolo between tw risk of failure of the lower not126 INSTRUMENTS Ex. 148. Becthoven—Sympbony no. 3 155, ed. Kalmus The funct breath is to set not to blow into or through the instr: not written into the part, but gov and mechanical, of the phrase. The dy the phrase has to be taken into account. times a new breath is taken to give sharper defini better to sacrifice notes than to force the performer to snatch fran- ities to replenish his wind supply. at minute oppore REGISTERS The woodwind instruments present a remarkable contrast to the strings, yy possess far more pronounced individual sound haracteristics, also cach one has its peculiar variations within itself lor, intensity, carrying powe tone-weight, depending on the part of its range bei ‘ed. Knowledge of these registers and their effect is an indispensable part of the technique of orchestra- tion. that tone SCORE MARKINGS The woodwinds are placed at the top of the score in this order: WOODWIND INSTRUME piccolo flutes oboes clarinets contrabassoon First and second parts for identical instru as two flutes, are written on one staff, except in cases where differ other complicati Then a second staff is used temporarily for the second player. When two parts are on the same staff, stems for the first part point up, those for the second part, down, Dots and accents are placed at the ends of the stems (Fig. 444) If both first and second players are to play the same part, double stems may be used (Fig. 44b), or the part may be written as for one player and marked a 2 (Eig. 44¢). If the first player isto play alone, the second part may be represented by rests (Fig. 442), or the single part may be marked 1, I, 1°, or I° (Fig. 44). If the second player isto play alone, the first part may be represented by rests (Fig. 44f), or the single part may be marked 2, Il, 2°, or Il? (Fig. 442). Fig. 44 The indications divisi and unis. are peculiar to string parts and are not used for winds.CHAPTER SEVEN a THE FLUTE Fr., flite, grande fit Ger., Flo I, flauto, flauto grandes , grosse Flate He present century has seen the adoption of metal flutes and | the virtual obsolescence of the wooden flute as an orchestral instrument, an event which cannot be reported without some. owness and beauty of regret over the loss of the wooden flute’s mel tone. Ir was to be anticipated that the evolution of musical taste toward a predilection for orchestral brilliance and virtuosity would bring about this radical change. Modern flutes are made of silver, gold, and eve platinum, and they surpass those of wood in ease of speaking, agility, brilliance of tone, and security in the upper register. Their tone is pure, clear, and serene, possessing beauty of a different quality from that of their predecessors. Some wooden flutes with silver-lined head joint, now in use, are evidence of a lingering wish to preserve qualities of both types. The over-all length of the flute is about 26% inches, A cork stopper with a screw tuning device is inserved in the end near the embouchure, so that the sounding length of the tube is in the neighborhood of 24 ne flutes are made with a low thening of the instrument by about 2 inches. The narrowed slightly at inches. The lowest tone is 2-foot C. So B, necessitating leng bore is cylindrical, with a diameter of % inc the embouchure end in a parabolic curve The flute is made in three sections, the head joint, the body joint, and the foot joint. The foot joint represents an extension to the six-hole pipe envisaged in the preceding chapter, and it furnishes the additional THE FLUTE 19 tones Cf and C. A longer foor j for those rare occas 1 may be attached, giving the low B, ns when that note is cal The modern flute introduced by The: tury, with a few subs es were to cated in he holes were to be as nd they were to stand the large as possible, for better inton open. Formerly, the size of the holes depen fingers to cover them, and also on corrections in pitch necessitated by compromise in the location of the holes. Third, the mechanism was to be arranged so that the of keys, hole covers, this arrangement pipe. ‘The right gs. The : lowing 9 to the basic six: ould be considered in relatio rotating axle, the Fz ho finger key is depressed. The ri By hole above, providing an alternative fingering fi For the left hand, a finger plate ¢ Cé hole from a position an inch and plate for the thumb allows clo and By holes. It was found inconvenient to keep two of the holes open, the Gi and the low Dg. The Gg hole is opened by the left litle finger lever. A duplicate hole is bored, however, and this stands open unless the third finger is depressed for Gi. Fhe right little finger opens the Dt hole in the foot joint, and keeps it open for practically all notes above The same finger controls a split key to play either C or C3, the lowest notes. cither the first or the third t-hand first finger key also closes the Bo. s the first finger to close the A combination key ig either the Cy hole or both C3 ‘The remaining keys are the high D and Dé trill keys, 0 the right third and second ated by sand an added Bg trill130 INSTRUMENTS letters and mumbers indicate keys [immo 2 ” E : THE FLUTE BL kkey for the right first finger, duplicating the action of the thumb plate. in the key is depressed. Iis to be recognized, howev ‘opened when the G# key is depressed, the effect of depressing the Gq G4 comes from the hole Fingering a note inv all higher-pitched gered has to be duce upper part In playing position, the flute is supported by the right thumb, the ind the player's chin. The lower lip ss. The entire tube down to the note being fin- hiely closed, except when vents are opened to pro- tones. ic equivalents are fingered alike; e.g., the fingering for G¢ and for Ab is exactly the same. ove OWING The fingering chart show's how the upper notes of the flute are ob- tained by fingering a fundamental and, except for the chromatic tones from Eto Cé, ing one or more holes as vents for the production of harmonics. This process is summed up in Fig. 46. , in the second octave, opt ferred ppm tet icKt Piroraysod, teams eyima my im Fig. 46 ES OF THE REGISTERS TONE QUA The tones of the first half-octave, especially the foot joint notes, have a.warm velvety quality of their own. The sound is deceptively heavy when heard alone, but it is easily covered by other instruments and by strong overtones from low bass notes. This is due, no doubt, to the weakness of the upper partials in the formant of the low register of the flute.THE FLUTE ly because it is the i, p. 1, ed. Durand14 NSTRUMENTS ex. 153. Ravel—Dap) idiomatic for the instrument.136 INSTRUMENTS ng (Ex. 157) and triple-tonguing (Ex. 158) are both cient for fast staccato playing. effective and ky Nutcracker Suite no. p. 35, ed. K: Tempo di marcia viva Ex, 157. Tel Ekan-Vopel Philadelphia, Pa agente HARMONICS n that on the flute all normal tones above the first open nies. But the term harmonic, in woodwind parlance, is note a tone produced by using a harmonic different from Fig. 47 no. 3 from the fundamental G, with left first finger raised, opening the Cg hole as a vent (see fingering chart); ayed with the vent closed; and third, the D as har- the low D, without vents. \duce the entire harmonic series (Fig. c from low C, without open- ¢ played as harmonics are those ob- .d unvented as harmonic no. 3 of the fourteen chromatic tones from low C y circle, like string While they possess acei it is generally admitted that they are inf both in clearness and intonation. In E of flute harmonics. , ed. Durand ‘Pigaega3F? pet cult passages. So fingering” will simplify the execution wit the over-all sonority. monic out appreciably affecting TRILIS AND TREMOLOS ‘The rapid altern: cwo ing and also of embouchure. A tril combinations requiring the movement of several fingers, together with a quick adjustment of the ics. These thed out by ic fingering or by keys to the instr The D and Dé trill keys er expedient. In any case, the effectiveness of a given trill, or tremolo, depends upon the expertness of the performer. Practicability is a matter of degree rather than a subject for tion into possible and impossible. The three keys in the foot joint being cont he right fourth finger alone, the trills C-Cz and C-D#, and the tremolo C-D3, are not playable except rather slowly. The little finger has to glide from one key to the other. The woodwind versioi use of assifica of the bowed tremolo is the reiter:THE FLUTE 141 p. 76, ed. Broude Bros. h other instruments should be studied142 INSTRUMENTS ion of how these instruments ich group are au or less universal. ind, The nets to the normal types. jents have as their first raison d’étre cit transitory, conce er instruments in yy instru- strument, is of smaller part of its range. The lower notes tend to be of less gi is illustrated by the piccolo, whose low tones are decidedly those of the flute. Furthermore, the foot joint is lacking altogether, so that the lowest note of the Another principle of am a flutist plays the customed. Since the instrument is but es), the notes sound an octave higher. The piccolo part in the score must be read as sounding an octave higher than written. The interest of composers in the auxiliary instruments has given them positions of importance nearly equal to that of the standard types in adv these instru- Ices, 10 defects are 1. be recognized as a es of woodwind. The pe can be very effective in the right surroundings. ir advantages, and to istic resources of the various THE FLUTE 13 p.13,ed, Leeds EX, 166, Shostakovich—Symphony no. 7 The upper tones of the piccolo are bright and piercing, easily heard above the maximum sonority of the full orchestra, The instrument is here unsurpassed in penetrating power. Its highest octave should there- fore be used sparingly. In high-pitched chords, the three upper notes may be given to two flutes with the piccolo on,top. The piccolo add highlights to the orchestral tutti, strengthening the upper partials of the harmony. The piccolo will be found most useful in its medium range. Here it combines more flexibly with other instruments, a cedginess to the sonority, It is often better, when doubling the fluce with piccolo, to write the latter an occave below, so that the two in unison, especially when the flute is in its upper octave. Solo p the piccolo in this register are numerous. contributes sound forSTRUMENTS Ex, 168, Holst—Th Andanse_—_ ied by perminson of J e experienced by ear to be EX. 170. Stravinsky—Le S. Tenpo gh aCHAPTER EIGHT eee THE OBOE Fr., hautbois; It, oboe; Ger, Oboe, Hoboe three sections, called upper, lower, and bell joints, The diam- eter of the bore measures %« inch at the top, and % inch at the beginning of the bell joint. The bell is flared a little and finished with a ‘metal ring. In the small end is inserted the reed tube, or “staple,” fitted with cork and the double reed, % inch wide, bound to it by winding with thread, The length of the instrument, including the reed, is about 25% inches, the reed and staple protruding 2% inches, more or less. The pitch of the oboe can be varied but very slightly, only by pushing in or pulling out the reed tube. Oboes are usually made of wood. Favorite woods are grenadi rosewood, and cocus wood. Some are of ebonite, which has at least the advantage of freedom from warping. T' body of the oboe is a gently tapering conical tube, made in FINGERING SYSTEM The fingering system of the oboe is based on the fundamental six- hole D major scale, described in Chapter Six. Unlike the flute, the oboe sounds Fs when the right first finger is depressed, but the two instru- ments are similar in that the right fourth finger controls keys for low C, Cf, and Dg. The left fourth finger operates keys for Gz, a duy low C#, low B4, and Bp, the lowest note on the oboe. The right thumb supports the instrument, while the left thumb works an octave key and a Bp plate. M6 THE OBOE 17 letters and numbers indicate keys to be depressed SES K|mn- 5oK Fig. 48. Fingering Chart for the Oboe (Co ervatory System)NTS all compared to those of the flute. A 148 INSTRUME he tone holes are quite ne hole is closed the note sounded is Ap. With both closed, the cis G. This half-hol je is made p cover on the Cz hole, for the left first finger. A tab is provid which leaving the er down and the s ation open for venting certain notes. Levers for upper Bp and Ci, peri a cross Fe key, a ther key work ment. F erally regarded as the best, has from thirteen to sixte , ng keys nental six holes. Spe are added to instruments to facilitate the execution of or that trill or figure. In consequence, a great many alternative ings exise. Onl not record all the variants in u Itis intended to present a general vi tion’ OvERBLOWING Keys 1 and 2 ont yy venting. Some instru ctave key that goes into action w' depressed and the fingering is taken for the A above THE OBOE 149 ys, and this venting is lar the sharpness of the harmonics, which necessitates the ad notes of the first octave, so overblown, Composers An accepted selected aro} EMROUCHURE Before ends are hi prevent the te the reeds, c alone. 2, the reeds must be moistened. In playing position, the ibrations and150 INSTRUMENTS The tiny elliptical orifice between the reeds opens and closes with their vibrations, and these in turn set The oboe requires by far the least amount of wind of is means that long phrases may be played but it means also that the g back the wind pressure. For this reason, as well as for the purpose of allowing relaxation of the lips and tongue, frequent rests should be provided in the obve part. vibrations in the air column of the instr any wind instrun without taking a new bi constant state of hh ‘tone G The tongue controls the air stream at the orifice between the reeds. Alll the tongue articulations previously described are feasible on the a few reservations, Double- and triple-tonguing are in the nergency resources, used only when the tempo demanded nature of is too fast for single-tonguing. They are not idiomatic features of the instrun ey are in the case of the flute. On the other hand, the light oboe staccato in single-tonguing can achieve a surprisingly fast delivery. ent, a8 ex. 171. Rossini—La Scala di Seta: Sinfonia p- 3,ed. Eulenburg dae THE OBOE 151 ‘The oboe staccato is perior to that of all the other winds for its point to realize wh combination. Another important characteristic of the oboe embouchure is that been employed on the oboe with no more than moderate effectiveness. Bx, 172, Stravinsky—Le Sacre du Printemps p. 88, ed. Russe = ge foe. Flatter ae 7 es (Copyiht121 by Eaton Hane de Musique. Und by pemison TIMBRE AND REGISTERS The sound of the oboe has been cal trating, biting, pi more obvious 4 ouble-r the oboe sharply from the flute, for example. There is a n ference in the kind of tone produced by different schools of oboe p! ing, such as the French and the German, and by individual players. It is generally believed that the oboe tone of the present day is much thinner and much lighter than when the following melody was written. pungent, tangy, nasal, pene- ¢ adjectives x ities that distinguish ne th lities 0 cabINSTRUMENTS Bach—Brandenburg Concerto no. 1 Adagio p- 15, ed. Kalmus EX. 174. Prokofieff—Chout Lent Ai ferrin Je Symphony in Bp p-93, ed. International Music Co. SingSTRUMENTS THE OBOE 155 Ex. 181. Ravel—Le Tombeau de Couperin p- ted. Durand 154 Melodies of an octave. The oboe repeats it several measures The oboe intensifies the suggestion of a strange exotic ter TRILLS AND TREMOLOS Even more thai case of the flute, a tabulation of oboe tri and trem de. There are the same v: factors of s! AGILITY fase slurred arpeggios yen, or, Less c four oboes and Ei n the melodic s or violas by dou! other woodwinds they give patterns with superior neatness, The ase proves eminently successful as oboe writing, force vioINSTRUMENTS THE OBOE 157 to rhythmic figures. The unison doubling of oboe and clarinet Ex, 184. Sibelius Symphony no. 4 p. 68, ed. Breitkopf Allegro tangy quality p- 82, ed. Durand San ted oboes. Muting is the bell.158 INSTRUMENTS ex. 185. Stravinsky—Pérrouchka pe ts, ed. Russe Lesvo 08 or, = ~$¢-8-s AP — O18 — AB - £ pS = 4 eo |) 2 — peed, com rnd THE ENGLISH HORN Fr, cor anglais; It. cormo inglese; Ger., englisch Horn The mechanism of the English horn is similar in all details to that of the oboe, except that the low Bb is lacking. It differs from the oboe in size (length 31% inches, including reed), in the bulb-shaped bell, and in the bent metal crook extending from the top end of the instrument to hold the reed tube. The double reed is larger than that of the oboe The weight of the English horn is supported by a cord around the player's neck. “The English horn is a transposing instrament, an instrument “in F.” This designation means that when the player reads C, taking the fin- gering for Cas on the oboe, the sound produced will be F, because of the difference in size of the two instruments. Since the English horn is larger than the oboe the sounds will be lower in pitch (ic will be re~ called that the piccolo sounds higher than the flute because of its smaller size), All notes written for the English horn, therefore, sound a perfect fifeh below. ORCHESTRAL USES Although often used in eighteenth-century chamber music and the English horn has been 2 normal member of the or- ary instrument of the oboe family, since the middle of the nineteenth century. Ie was at first introduced only occasionally for a featured solo melody, and was usually played by the second oboist, THE OBOE 159 ing the oboe after performing the solo, This could instruments were id sh horn grew, ies were more appreciated, th lish horn, who now occasional ‘As an auxiliary instrument, 2 pr of the English horn is to extend the range of the o} downward. Since the instr ment has no low Bp, the extension in sound is to Ez below middle Its lower fifth does not have the tendency to coarseness noticed in t Jowest notes of the oboe. The larger size seems to favor the low notes. ¢ family Ex. 186, Bartdk—Second Rhapsody for Violin and Orchestra p.3,¢d. Boosey & Hawkes — 2 gS ees Another service performed by the Englis! of the oboe’s lower fifth when a softer and less sired. A three-part chord for three oboes sounds smoother and more homogeneous if the third oboe is sh horn. that is st in part, to the peculiar in solo phrases for the English horn. Two of these are given below.161 THE OBOE as one, and consists of w:162 INSTRUMENTS wing example by Debussy. The p-4,ed. Durand CHAPTER NINE me THE CLARINET Hee Permission granted by Durand vented by Wi din the scores of Elektra and ordinary oboe down to A. The side. nne in the lower octave, as high as E above the staff, upper tones, Instances of its use are so rare pared to suppl HOU (_) Oc Clarinet mouthpiece Reed —_Ligature Fig. 50 The single cane reed is bound to the open side of the mouthpiece by reed becomes part o direct contact with scraped very the air and the orifice per end of ‘ween it and the tip of the mouth-164 INSTRUMENTS arefully adjusted, A metal cap is placed over the reed when fhe reed is laid on the lower lip, which covers wer teeth. The upper tecth rest on t me are affected by the \d the pressure of the lower lip on the reed. The tongue es the tip of the reed with each el of the mouthpiece. IE CLARINET FAM rrge one, The list of its members, with and their transpositions, is as written seco w writven notes ow written notes written notes low written notes ‘octave and minor third below written notes o octaves and major second be- ‘written notes 8 Of these, only four may be said to be regular members of the orches- E> clarinet, the pair of clarinets in By and A, and the bass clarinet in Bp. The piccolo clarinet in Ab is rarely seen even in bands, Parts written for D clarinet are most often played on the Ep. Many scores of the eighteenth and nineteenth centuries call for C layed on either the Bp or the A clarinets, but today these parts are clarinet. The alto clarinet is sometimes used to play basset horn parts, and it finds some employment in military and dance bands. The bass n A is virtually never seen except on paper, and the contra- inet has yet to be adopted by composers. The alto and bass nts are distinguished from the others by upturned bells, and bent meral pipes to which the mouthpieces are attached. inst THE CLARINET 165 TRANS! The clarinets fu transposing instruments. / fingering system, so that one who learns this system can play them all In the act of playi instinctive translation of the printed note and it would obviously be in sh a complete object lesson in the evo 1 of the instruments listed have the same any instrument there is his part as though for C clarinet, and the instrument transposes accord ing to its size. Since the Cc are always different in pitch from those written, In the discussion of fingering, registers, ete., the notes mentioned will be the notes as read, hence fingered, by the player. The normal, or standard, clarinet is the Bb clarinet, corresponding to the flute and oboe, and exemplifying the ideal clarinet as preferred today. The A clarinet is somewhat less extensively used. inet is now obsolete, a clarinet's notes FINGERING SYSTEM Referring to the elementary six-hole, six-finger sca Chapter Six, and used asa b: 1g oboe, we find that in the clarinet this scale starts on G instead of D, and gives the written notes shown in Fig. 51 (a). = peteceteceeete Fig. 51 r studying the 4 The cylindrical cube of the clarinet produces only the odd-numbered harmonics, when overblown. The series shown at Fig. 51(5) repre- sents the first notes available by overblowing from (a), at the tv above, leaving a large gap between the two series. This gap was fil by (1) boring a hole for the left thumb, giving G when open; (2) boring holes still higher on the tube, for Gf and A, with keys operated by che left first finger; (3) utilizing the register key (provided for over- blowing) to sound the Bp, this key being placed close to the G hole so that the thumb can depress the key and close the hole at the same165 Tetters and mumbers in INSTRUMENTS THE CLARINET 167 time; and (4) extending the downward range to E, with keys, so that the first overblown note is Bs. The last step involves the use of both fourth fingers. The right thumb supports the instrument. The B ements were applied with suc- cess to the clarinet, although some other systems are also in use, The Bochm clarinet has up to seven ring keys, and from seventeen to twenty-one other keys, Many alternate fingerings are provided, espe~ cially for duplicating the action of the fourth fingers. fhm syscem and later is Fig, 52. Fingering Chart for the Clarinet (Boeh System) Ifacing] It is to be noted that the thumb hole is kept closed, except for the so-called throat tones G, Gg, A, and Bb, and for one F¢ fingering; and that the register key, also called the speaker key, is depressed for all notes upward from the first overblown note, Ba. Side keys 9 and ro (right hand first finger) are used to trill Bp-C, and Bp-Ch, respectively. Fingerings above F% are not standardized, except for Aj, and no attempt is made in the chart to list the many alternatives used by clari- netists. The practice is to discover by experimentation those finger combinations which produce the best results in terms of the individual player and the individual instrument. REGISTERS THE CHALUMEAU “The low register of the clarinet is called the chalumeau register, from the name of one of its ancestors. The tone color in this part of the o& Hawkes — = ‘saisnuaey170 INSTRUMENTS fingering char tube open, BS requires ‘THE CLA REGISTER The overblown notes from By to the first C above the staff, in- clusive, constitute the clarino register. Here the clarinet is bri cisive, warm, and expressive. EX, 197. Becthoven—Symphony no. 7 Above C, forte, and is maintained up to high G, the high register tends to sound shri and piercing in which may be taken as a safe orchestral clarinet parts. Needless to say, the clarinetist exercises con- E CLARINET m trol over the different registers in widely traversing x. 198, Stravinsky—Symphony EXTREME NOTES bove the G just mentioned, but these extreme notes have little sonorous value. G¢ and A are rkm INSTRUMENTS mphonie Fantastique p. 117,ed. Eulenburg Adagio Echo lly. A clarinetist car- nt. He expects to be in part for By and in part for A clarinet. Sometimes he is asked to make the change in the course of a movement, which he does by re- connecting it to the to simplify fingering in sharp keys by means transposition (B major would be written D 1t for Bp clarinet); (b) to give the f the longer instrument for cei low C2, sounding fr ow need n expressive purposes; the low E of the A clarinet. e further examined. In regard to (a), nme keys are easier to play in than others is mis- leading. The fact is that difficult passages may occur in C major, a easy ones may happen in FG major. In the chromatic harmony and ities of the twentieth century, key signatures are un- ered. Further- 3s advance in play- ize problems of execution, between the A and Bp clarinets is not striking. Indeed, itis often impossible to tell by the tone alone which of the two is being played. The size of the instrument is, These purposes the ass ption that THE CLARINET 1B however, unquestionably an aid to the performer in securing a desired one quality. And for (c), cla ply Bp clarinets having a low ive the Cz. This addition has der to sound this note the instru ment has to be lengthe the question arises whether or not it remains a ig for the A clarinet is the only sure way to obtain the low Ci. ‘As a matter of fact, the A clarinet h: a preference for the Bp inst ng clarinetists to play everything on the Bp, transp yet parts down a half netimes that practice is reversed, the A clarinet being used to play the part written for Bp clarinet to get a preferred fingering or a better tone on an important melody note. For example, the sound ‘Ap, on the second space, would be written as throat tone Bb for the Bb clarinet, whereas on the A clarinet it would call for the full BE, overblown from low E. not fallen into disuse, despite tone, TRILLS AND TREMOLOS All major and minor trills are good on the Bochm clarinet. Tremolos are of excellent effect, especially in the chalumeau, but should not be based on intervals wider than the major sixth in that register, or the perfect fourth above the break. Above the staff, the major third is a safer ex. 201. Kodily—Psalmus Hungaricus p. 81, ed. Philharmonia “GS: ah ane TONGUING iat of the obec, but ato. Fast passages of ‘The clarinet staccato is much less pointed than it can be drier and sharper than the fute st single-tonguing are better relieved by slurring two or three notes atan expl louré bowing in Ex. 203. Debussy- p. 7, ed. Durand178 INSTRUMENTS composer's object in writing for the A instrument is to obtain the low Cf, the actual pitch of the low E of the bass clarinet in A. This sound is now available, however, through the addition of the low Eb key (right-hand fourth finger) to the Bp bass clarinet. Because of this ex- tension the length of the instr as that of the bass clarinet in A. Since ¢ arinet is pitched an ordinary clarinet, its lowest tone sounds a half tone above the open string of the “cello, Bass clarinets have been made with a downward range to D, sound- ing C, and modern Russian composers give evidence in their scores of the existence of bass clarinets descending to C, sounding Bp, the range g ky-Kor yet constructed by Rosario Mazzeo, of the Boston Symphony Orchestra, provides two further semitones, down to Bp, sounding Ab. At the present time, however, one cannot with certainty count on having sounds lower than C¥ on the bass clarinet. ave below the jicates that of the standard Bochm clarinet, ex- cept that two register keys are provided. The throat tones may be overblown at the twelfth, giving fuller tones from high D to F, but few players take advantage of this, preferring to keep to the fingering habits of the smaller clarinet. External features of the bass clarinet are the upturned bell and the curved mouthpipe, both of nickel silver, and the supporting neck-cord attached to two strap-rings. NOTATION There are two systems of notation in common use, called French and German, terms that may have possessed logic when they origi- nated. Subsequently both systems have been employed by French and German composers interchangeably, but the names persist. In the French system, the part is written throughout in the treble clef, exactly as though for the ordinary Bp clarinet, the sounds being a major ninth lower. In the German system, the bass is used as the normal clef, the treble clef being employed only when the part lies so high that keeping to the bass clef would require several leger lines. The sounds are a major second lower than written, in either clef THE CLARINET 179 “ee =e (German noaion from the standpoint of fingering habits, whereas the German notation has the advantage of appearing more nearly where it sounds, Bass clarinetists, as a group, do part begins with notes in not show a preference for either way. If the treble clef, am owed. A footnote is sometimes given to make this clear, ¢.g., ing a major ninth (or major second) lower. ist as to which notation is to be fol- “sound- uity may TONE QUALITIES The low tones are rich in their odd-numbered partials, and resultant major triads are often plainly audible w playing alone. The bass clarinet makes an excellent bass for the woodwind group, with or without doubling by bassoons. Its pianissimo in the low register can be very much softer than that of the bassoons, and is a valued resource. In the following expressive solo passage the bass clarinet is ac panied very lightly by flutes, with the harp placed above them. The written Cj cannot be reached by most instruments. EX. 208. Shostakovich—Symphony no. 7 p-99,ed. Leeds mites Copyright 1948 by Leds Suse180 NSTRUMENTS e for a kind of shadowy fleetness p. 40, ed, Heugel = et ~—e * edge of what helps the listener to kx hears. In this register cisive than its smaller prototype. EX, 210, Strauss—Ein Heldenleben Lethatt bewegs_——5—> 181 THE CLARINETS IN Eb AND D ad D stand in the same pitch r to cach other as tl is possible that jough the Eb clarinet has the same mechanism as the Bh, it is more difficult to play well, reed and the rather cramped finger position need time Usually one member of the clarinet section makes a specialty of playing the Ep clarinet. s and flutes, as w ence the most used part of its range ling Bb, can be considered a safe high register. The hig!INSTRUMENTS THE CLARINET 183 THE BASSET HORN The basset horn may be described as a cla G, pitched to sound a perfect fifth lower th: lowest sound inctive timbre. he tube made a sort of S-turn in- side a box, as ing the instrume "Ar present, the significance of the basset The entire range is playable, wer octaves lacks the warmth and expressive qual Bp clarinet, and the instrument has often been used here for purposes EX. 214. Strauss—Elektra p. 252, ed. Boosey & Hawkes of parody 1. As in the case of the pi should be said ag: instruments bring “weak” registers, addi sources needing only to be employed in the right way. for the horn. The procedure is shown in the following example. » however, it Langs — sw colors in their px, 213. Strauss—Ti p- 98, ed, Philharmonia jee f Tea om